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NYU Abu Dhabi Art Gallery Announces Public Talk With Internationally Renowned Artist David Claerbout And Curator-Led Tours As Part Of Its Current Exhibition, Ways Of Seeing

NYU Abu Dhabi Art Gallery Announces Public Talk With Internationally Renowned Artist David Claerbout And Curator-Led Tours As Part Of Its Current Exhibition, Ways Of Seeing

The NYU Abu Dhabi Art Gallery, the university’s academic museum-gallery, is pleased to announce a public talk with internationally renowned artist David Claerbout and curator-led tours as part of its current exhibition, Ways of Seeing.

The public program kicks off on Saturday, October 27 at 4pm, with a special tour by the Ways of Seeing curators Sam Bardaouil and Till Fellrath. They will guide visitors through the exhibition and discuss their curatorial approach to the project.

The curator-led tours will be followed by a public talk at the NYU Abu Dhabi Institute, Conference Center, at 5:30 pm, where internationally-established artist David Claerbout, whose work is currently on view at Ways of Seeing, will discuss the concepts behind, and making of, his immersive moving image installations. His films investigate the passage of time and the concept of the in-between state of duration. This talk will be moderated by Sam Bardaouil and Till Fellrath.

Open until November 17, Ways of Seeing brings together 26 artists through 41 works spanning a variety of media from painting, sculpture and photography to sound, film and installation. It first opened at ARTER – Space for Art in Istanbul and was later adapted for the Boghossian Foundation – Villa Empain in Brussels.  The third iteration of Ways of Seeing premieres in Abu Dhabi and has again been adapted to include new works, by artists such as Andreas Gursky, Mona Hatoum, Lateefa bint Maktoum, Michelangelo Pistoletto, Hassan Sharif, Cindy Sherman, and Thomas Struth, among others.

Ways of Seeing calls for a return towards a vision of the artist as a maker of things, a skilled technician, who, through their understanding and handling of the formal properties of the creative process, relentlessly remind us that the connection between what we see and what we think we know is never that simple, and that seeing is, at its core, a political act.


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